Ahh… yet another distortion box! Hehe. You know I just dig ’em. This one is from the same guys that bring us the J. Backlund Designs guitars; specifically, Bruce Bennet, of Bennett Music Labs, the actual maker of the J. Backlund Designs guitars.
That turned out to be a bit of dead-end because I couldn’t find where to buy them. I finally found a place that sells the pedals, call OohLaLa Manufacturing. Apparently, they’re a distributor and production house for a bunch of boutique pedals. They either take designs from pedal designers, then manufacture them or, as I found out from Bruce Bennett today, they just distribute the finished pedals. Defintely check out their site! Too bad they don’t have sound samples.
The Brown Sound
The original “Brown Sound” was popularized by the likes of Jimi Hendrix and Clapton with the “Woman Tone.” In its simplest sense, the Brown Sound was produced by using a bit of fuzz combined with TONS of power tube distortion. The end result was a way huge sound! Fast-forward a bit, and the Brown Sound then became associated with Eddie Van Halen. But to produce his tone requires a bit more work.
What about the Brown Sound pedal? Well, it’s not an EVH tone simulator. Apparently, it’s more of a Hendrix tone simulator as the guys at Analogman describe here. Interesting to note that this pedal is not meant to add gain. The volume knob is more of a volume cut, and the drive adjusts the amount of “Brown” you get. That’s actually kind of cool because I’m assume you don’t have to mess around with the volume much to find unity gain. Just leave the volume knob wide open, and let the pedal do its thing.
I’m gonna have to contact the guys over at OohLaLa to get more information about this pedal. I love that tone, and to get it in a box would be awesome!
I forgot to mention: The pedal is all hand-wired, and it’s only $159! Pretty cool! Anyway, check out the video of how it’s made.
I’ve personally had a mostly tepid response to BOSS’s multi-effects units. A buddy of mine has an ME-50, and he rarely uses it – though he has other interests besides guitar. But from what I’ve heard from it, it just never inspired me. But the ME-70 seems a bit more promising; the operative word here being “promising.” This new version packs 40 effects of what BOSS claims to be it’s “hottest” pedals. It doesn’t make me all hot and bothered, but it does pique my interest enough to go down to my local Guitar Center and try it out. It’s not a bad price of at $299, and for the solo gigs I play, having a nice, compact effects rig with some built-in amp models is definitely something to consider. But that said, the only REALLY promising multi-effects unit I’ve come across is the TC Electronic Nova System. But it’s also twice the price. Only a test will prove it out. In the meantime, check out the video from BOSS:
Summary: Modeling 12 of the most famous Fender Amps, Amplitube Fender is pretty amazing. It’s scary how close to the real thing this software gets!
Pros: Super-easy to install, and super-convenient to use in your DAW software. The package comes with TONS of presets that require very little tweaking.
Cons: This is just a little nit because it sounds so good, and I don’t want to take that away from this excellent piece of software. But it doesn’t quite respond like a real amp.
Incredible tonal flexibility: mix and match amps, cabinets, mics and more
Sound-certified and approved by the tone gurus at Fender®
5 separate modules: Tuner, configurable Stomp pedal board, Amp head, Cabinet+Mic and Rack Effects
2 fully configurable rigs with up to 32 simultaneous effects
Digital Tuner
Standalone and VST/AU/RTAS plug-in
Includes SpeedTrainer™ and RiffWorks™ T4 Recording Software
Can be expanded with any “Powered by AmpliTube” models using AmpliTube X-GEAR
Can be controlled live with StompIO™, StealthPedal™, StealthPlug (included in AmpliTube Fender® Studio edition), or any traditional MIDI controller
400 presets included with more that can be downloaded online
Powered by AmpliTube® with exclusive DSM™ (Dynamic Saturation Modeling) and VRM™ (Volumetric Response Modeling)
Tone Bone Rating: 4.75 overall, but for a recording plug-in, it gets a 5.0
Being a snobbish purist about “real” gear, 🙂 I’m not easily impressed by emulation software. But when I heard clips of the Fender Edition of Amplitube, I knew I had to check this software out. A million thanks go to the folks at IK Multimedia to letting me evaluate this software because I am definitely impressed by Amplitube Fender! It’s not everyday that you have access to 12 awesome Fender amps, and to have them literally a mouse-click away is just insane! I don’t think amp software will ever replace a real amp, but this software comes so close to sounding like the real thing that especially for recording, I’d be hard-pressed to NOT use it for recording lots of guitar parts!
I used an earlier version of AmpliTube a few years ago, and was not at all impressed by how it sounded. But being in the software development world, with time, software gets better, and I have to say that this software is absolutely incredible!
Now and then, I go off for a weekend alone, and I lug a couple of guitars, a couple of mics, an amp or two, and my MacBook, along with my MBox 2 interface to just do some writing and recording. With Amplitube Fender, I don’t need to lug my amps! I can just load my laptop and MBox an a couple of cords and a mic, and I’m home free! Hey! Not having to lug any extra gear is HUGE! I’m sold on using this software! Not only do I have my four real amps, I now have 12 other amps to choose from when I record! It’s really exciting!
How It Sounds
Imagine that! No need to write a section on fit and finish! 🙂
In a word, it sounds AWESOME! Right after I installed the software, I plugged my Strat into the DI jack of my MBox 2, opened up GarageBand, started a new project, added a new track, and selected “Amplitube Fender” from a plug-in drop down. It was literally that easy! I randomly picked a ’57 Deluxe Dual Mic, then started to strum this little ditty in Am. Before I knew it, I was adding drum and bass tracks, to record the riff.
I’ve played through a ’57 Deluxe in the past, and I was amazed at how the software emulated that warm, bright and crisp sound that that amp is known for! I kept on thinking to myself, “This couldn’t be software – it sounds to friggin’ good!” After I recorded that rhythm track, I took out the Goldtop to play a lead. I ended up playing for over an hour this evening just tooling around with different amps. In the end, I wanted to get a sample out, so I chose a ’59 Bassman with a Fender Fuzz-Wah plug-in to get some fuzz, then recorded the following sound bite:
I don’t know about you, but I really can’t tell the difference between the real thing and software. Maybe because I’m starting to lose my hearing and my ability to discern audio fidelity is kind of going south. No matter, I think this software ROCKS!
Overall Impressions
Amplitube Fender does a fantastic job of amp emulation – there’s no arguing that at all. But there’s a certain “mojo” about a real amp that just can’t be captured with software, no matter how close to the real thing that software sounds. That said, however, even one as snobbish as myself, and other gear freaks I know would be hard-pressed not to seriously consider adding this to their arsenal of recording plug-ins!
Gear-aholic. Tone Freak. Gear Maniac. At least that is what I have been called. I like to think of myself as a “Tone Crusader.”
I comb the ethers in search of implements to try to catch the unicorn called “Tone.” And since tone has so many faces, I need different kinds tools to help me catch the unicorn. Thus, I have an arsenal of axes, both custom and commonly available; a bank of sound amplification devices to announce my presence with special foot pedals to alter my sound to affect a different response.
I spend hours upon hours developing and honing my skills, and learning how to most effectively use my tools. I am a warrior who must constantly be at the ready to perform.
And like the Crusaders of old, my quest for the tone unicorn is a life-long pursuit that has been fraught with both times of extreme joy and with days of dark dispair. But despite its ups and downs, I cannot even begin to imagine abandoning this pursuit! I’ve seen the unicorn! I have even come close to touching it! And until I do touch it, I will never give up. Never!!!
I fully realize that I may go to my grave without ever catching the unicorn. But it is not the goal that matters to me in any case; it is the journey that matters.
When I stumbled upon Tone Freak Effects as I described in a recent article, I didn’t let on that with the Abunai 2, there might be a Tube Screamer killer in my midst. As you may know if you’re a regular reader here at GuitarGear.org, I love my Tube Screamer. It is the one overdrive pedal that has stayed on my board for years. That creamy-smooth distortion with the mid-range bump just stirs me to the core. I use it all the time, even though I’ve been playing GREAT amps that break up beautifully.
So it is with incredible excitement and anticipation that Dereck over at Tone Freak Effects is sending me an Abunai 2 to evaluate. I’m always a bit dubious about overdrive pedals, and always make the comparison to my beloved Tube Screamer when I run across new ones. But the more I listen to the sound clips, and read reviews on the web about the Abunai 2, the more I’m thinking that if this pedal performs as well as the clips suggest, my Tube Screamer may have some serious competition.
Here are a couple of clips, both through a Suhr Badger:
Clean
Pushed
Impressive, huh?
The thing that REALLY turns me on about this pedal is that it has three switchable clipping configurations in addition to the gain, drive and tone knobs. That kind of versatility is extremely intriguing to me. We shall soon find out in the next couple of weeks.
If you’ve read this blog for any length of time, you’d know that I’m into tube amps – real tube amps – and I typically eschew modeling amps or modeling anything because they’re well, models. But I’m VERY intrigued by IK Multimedia’s Fender Edition. Thanks for this information goes to John over at Gear4Music in the UK for bringing this to my attention.
I will share a video demo in a bit, and based upon the videos and clips I’ve seen and heard, I’m incredibly impressed! Here are the amp models that this edition portrays:
’59 Bassman® LTD
’65 Twin Reverb®
’57 Deluxe™
’65 Deluxe Reverb®
’64 Vibroverb™ Custom
Vibro-King® Custom
Champion™ 600
Super-Sonic™
MH-500 Metalhead™
Pro Junior™
Bassman® 300
TBP-1 Bass Preamp
I’ve used AmpliTube with ProTools in the past, but I had just the simple plug-in that came bundled with the LE version. IK Multimedia has really made huge leaps forward with these models. Check out a video:
I love serendipitous moments, when I stumble upon something new when I’m doing something else entirely. Such was the case of me stumbling upon Tone Freak pedals. I was seeing if the domain name “tonefreak.com” was taken, and at the top of the search results was Tone Freak Effects. You know me and overdrive and distortion pedals. I LOVE ‘EM! And Tone Freak Effects specializes in two kinds of overdrive, two kinds of distortion pedals, plus a buffer/booster and a really nice trem pedal.
The OD and distortion pedal clips I listened to demonstrate a very diverse set of pedals that have a classic character, but also sound fairly unique as well. For instance the Abunai 2 clips sounded a lot like a classic Tube Screamer – nice and open – but with a bit more low-end while maintaining that openness. In fact, all the pedal clips I listened to portrayed familiar OD and distortion sounds, but were also wonderfully different in very good ways. This could likely be because almost all the pedals are the result of collaborations with various guitarists.
No matter, these pedals sound awesome!
I’m particularly interested in the Buff Puff, a signal buffer, plus a clean boost. The buffer is on all the time, and helps restore the signal loss that can occur in a long effects chain. When you switch the pedal on, you get some clean boost. Not sure how many dB, but that is something that I find totally cool. In addition to my love for OD pedals, I’ve really started getting into clean boost – not just to up my volume, but to also slam the front-end of an amp. It’s wonderful!
Introduced at Winter NAMM, the Lava Cable CPS (Configurable Pedal Board System) is what Lava Cable claims is the first fully configurable pedalboard system ever. They may be right, and are certainly on to something. The CPS consists of individual, notched pedal “blocks” that fit flush together. You then screw the pieces together in whatever fashion you wish. Imagine growing or shrinking your board at will! For pedal junkies like me, this system could be a bit dangerous. The limited size of my current board makes getting more pedals prohibitive, and that’s a good thing. A system like this would allow me to expand it ad infinitum!
In all seriousness though, being able to flexibly lay out your board is a totally cool concept to me. You’re not reliant on the shape of the board nor, if you’re into doing it yourself, must you cut out your own templates. For more info, go to: http://www.lavacable.com/lavacps.html
Ran across these demos on YouTube, and thought I’d share them here. This first one is from VOX at the NAMM show, and sound quality stinks, but the dude’s explanation of the differences between the two different voices (British or American):
This next clip comes from someone apparently in Japan, where the pedal was recently released. The sound quality is much better, and he inserted little conversation bubbles to show his settings. Picture quality isn’t that great but the quality of the sound makes up for it. Plus, it’s kind of amazing that this dude has such clever and articulate feet that he can make all the adjustments with his toes! HA! He’s not bad at guitar either! Check it out!
Especially after viewing the second clip (despite Mr. Clever Toes), this is definitely my next pedal – at least until after I try it out for myself. 🙂
Summary: With seven (7) licensed Lexicon reverb models, this is one bad-ass reverb pedal, and a great value proposition given the relatively inexpensive price of $149.99 for a true bypass pedal. With the Hardwire series, Digitech has really hit a home run!
Pros: Just about the best-sounding spring and plate reverbs I’ve ever heard in a digital reverb. Capable of subtle reverb, to thick, rich and wet surf.
Cons: None. I dig this pedal!
Price: $149.99 street
Features (from Digitech):
Reverb Types
Room – Fast decaying reverb; great for a touch of ambience
Plate – Renowned studio reverb heard on classic recordings
Reverse – Reverb in reverse; gradually crescendos to full volume
Modulated – Lush, modulating, reverb ideal for chords
Gated – Unique reverb with abrupt decay; good for percussive playing
Hall – Large, encompassing reverb with warm decay
Spring – Classic “surf” reverb; great for Rockabilly too!
Tails On/Off Switch – When on, reverb tails are not cut off in bypass
True Bypass circuitry preserves your tone in bypass
Constant high-voltage operation for tonal quality and noise reduction
HardWire Pedals include the following stage accessories
Stomplock™ knob guards lock your tone in place and prevent tampering or accidental knob adjustments onstage
Green gaffer tape helps you locate the pedal in adverse stage lighting
Custom-cut Velcro® pads attach and lock your pedals to your pedalboard
Tone Bone Rating: 5.0 – I did a review of this awhile back, but I finally bought one, and I am oh so pleased with how it sounds!
Yeah, yeah, say what you will about Digitech being known for “consumer” grade pedals, and I’m as much of a boutique pedal snob as the next guy, but there’s no denying the quality workmanship that has gone into the Digitech Hardwire series of pedals. And yes, I know, I reviewed this pedal before, but that review was based upon a test at my local Guitar Center, while competing against the flailing of a wanker sitting next to me, trying to look cool and and trying to play metal licks and failing horribly. Okay, enough of the ranting… Y’all know how I feel about wankers… (search GG for “wankers”).
And say what you will about a digital effect box, but the fact the RV-7 has seven licensed Lexicon reverb voices inside give this pedal LOTS of credibility in my book. As I mentioned in my previous review, I’ve used a Lexicon rackmount for vocals at my Church, and have absolutely loved the reverb effects it contains. Though digital, Lexicon has figured it out, so it’s no surprise that they’re pretty much the standard for digital reverb.
In any case, despite the conditions I had to play within during my initial test, the RV-7 blew me away. Honestly, at the time, I didn’t think Digitech was capable of making a truly great-sounding pedal. Make no mistake, I’ve had Digitech pedals in the past, and they’re all quite functional, but I would never give them a “best in class” rating. They tend to offer great value for the money you pay – which isn’t much for their standard stuff; at least until I discovered the Hardwire series – especially the RV-7!
Since I reviewed the RV-7, I’ve tried several, and even came close to buying an EH Holy Grail. It too is a great sounding reverb, but there was something about its room reverb model which just didn’t do it for me. It’s a great pedal though, but I still liked the RV-7 better.
Recently, I had the chance to go to the local music shop near my work (B Street Music in San Mateo, CA) to perform an A/B test between the Holy Grail and the RV-7. Head-to-head the pedals were pretty close in performance, but the RV-7 beat the Holy Grail with the types of reverb voices it offered, plus the room reverb model on the RV-7 was superb! While the Holy Grail just edged out the RV-7 with the spring reverb, I found I could dial in a great sounding spring reverb with the RV-7 just the same, so that, combined with the awesome room reverb was what sold me. But let’s get into some specifics…
Fit and Finish
All the Hardwire pedals are solidly built with a cool, flat metallic finish. These pedals are very well-built, and surprisingly heavy – definitely gig-worthy. The RV-7 has a purplish, flat metallic finish on the body with a flat silver switch plate that has a nice rubber pad with the Hardwire logo. The pedal featurs a cool, light-blue LED indicator light. The RV-7 has four control knobs: Level, Liveliness, Delay, and a Voice selector knob. The first three knobs are not smooth sweep knobs. They have – for lack of a better term – micro-notches that really add to the whole industrial vibe that the Hardwire pedals have going on. When you look at the pedal, what’s not to like? 🙂 Of course, how it sounds is where it’s at, isn’t it?
Controls
Level – Controls the Wet/Dry amount. Fully clockwise is 100% wet.
Liveliness – This is actually hi-cut filter to add or reduce the amount of high-end freqs that come through
Delay – Controls how long the reverb effect decays after striking a note or chord
Voice Selector – pretty self-explanatory
How It Sounds
In a word, AWESOME! I used it in my weekly acoustic gig this evening, and was thanking the heavens for such a great pedal. My guitar maintained its clarity, no matter how much I upped the level knob. It must have a slight pre-delay built in; whatever, the fact that I could clearly hear the notes and chords I was playing and not having them washed out by the effect was truly an inspiring experience. Add to the fact that it is true bypass, so when it’s off, it’s really off, is yet another reason to love this pedal; no hum, no buzz.
To be fair, I have no idea what to do with the reverse reverb other than to add some interesting effect with single notes in a song. But other than that, I’m really digging this pedal!
Sound Samples
Here are some sound samples I quickly created… Please excuse the recording quality. I just recorded in an open room with no filtering. BTW, I used a Strat with a prototype Aracom RoxBox 18 Watt Amp with a Jensen 1 X10 speaker. In almost every case, all the dials were at 12 o’clock, except for the Hall and Spring, where I set Level and Decay to about 2pm. I prefer a more subtle reverb effect, but as you’ll hear, the RV-7 is crystal clear, and produces a very nice reverb effect.
I love serendipitous moments, when I stumble upon something new when I’m doing something else entirely. Such was the case of me stumbling upon Tone Freak pedals. I was seeing if the domain name “tonefreak.com” was taken, and at the top of the search results was Tone Freak Effects. You know me and overdrive and distortion pedals. I LOVE ‘EM! And Tone Freak Effects specializes in two kinds of overdrive, two kinds of distortion pedals, plus a buffer/booster and a really nice trem pedal.
Guitar Gear 